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Almeida, Onésimo Teotónio, Açores, Açorianos, Açorianidade: um espaço cultural (Chaves Tesser) 679-80

Anderson, Andrew A., ed., Diván del Tamarit, Seis poemas galegos, Llanto por Ignacio Sánchez Mejías (Colecchia) 671-72

Anderson, Andrew A., Lorca's Late Poetry (Colecchia) 671-72

Debicki, Andrew P., Ángel González (Jiménez) 676

DiSalvo, Angelo, J. Cervantes and the Augustinian Religious Tradition (Damiani) 668

Foard, Douglas F., The Revolt of the Aesthetes: Ernesto Giménez Caballero and the Origins of Spanish Fascism (Johnson) 672-73

Guardiola Alcover, Conrado, La verdad actual sobre los Amantes de Teruel. Orientación de los estudios amantísticos (Ihrie) 669-70

Johnson, Carroll B., Don Quixote: The Quest for Modern Fiction (Friedman) 668-69

Jordan, Barry, British Hispanism and the Challenge of Literary Theory (Roberts) 678-79

Lértora, Juan Carlos, Tipología de la narración: A propósito de Torrente Ballester (Ortega) 674-75

Martínez, José Enrique, Antología de la poesía española (1939-1975)[Pritchett] 673

Navajas, Gonzalo, Pío Baroja (Landeira 670 Ortega, José, Conciencia estética y social en la obra de García Lorca (Jerez-Farrán) 671-72

Pérez, Janet, and Stephen Miller, eds., Critical Studies on Gonzalo Torrente Ballester (Jones) 673-74

Rodríguez, Claudio Fer, Poesía Galega. Crítica e metodoloxía (Robatto) 677-78

Rodríguez, Jesús, El sentimiento del miedo en la obra de Miguel Delibes (Sullivan) 675

Valis, Noël and Carol Maier, eds., In the Feminine Mode: Essays on Hispanic Women Writers (Brown) 676-77

Viera, David J., Geoffrey L. Gomes, Adalino Cabral, eds., The Portuguese in the United States: A Bibliography (Chaves Tesser) 679-80

Bonifaz, Óscar, Remembering Rosario: A Personal Glimpse into the Life and Works of Rosario Castellanos (Palley) 682-83

Camurati, Mireya, Bioy Casares y el alegre trabajo de la inteligencia (Oberhelman) 687-88

Daydí-Tolson, S., El último viaje de Gabriela Mistral (Smith) 681-82

Dixon, Paul B., Retired Dreams. Dom Casmurro: Myth and Modernity (Ginway) 680-81

Feierstein, Ricardo, Mestizo (Lindstrom) 689-90

Floresta, Nisia, Opúsculo Humanitário (Ginway) 680-81

Forster, Merlin H., and K. David Jackson, Vanguardism in Latin American Literature: An Annotated Bibliographical Guide (Foster) 686-87

Fowlie-Flores, Fay, Annotated Bibliography of Puerto Rican Bibliographies (Woodbridge) 686

Graham, Richard, ed., The Idea of Race in Latin America, 1870-1940 (Sputa) 683

Luis, William, Literary Bondage: Slavery in Cuban Narrative (Febles) 684-85

Ortega, Julio, Crítica de la identidad: La pregunta por el Perú en su literatura (Gómez-Martínez) 685-86

Peavler, Terry J., Julio Cortázar (Lichtblau) 688

Pineda Botero, Álvaro, and Raymond L. Williams (compilers), De ficciones y realidades: Perspectivas sobre literatura e historia colombianas (McMurray) 688-89

Sigüenza y Góngora, Carlos de, and Alonso Ramírez, Infortunios de Alonso Ramírez (Morris) 680

Stephens, Thomas M., Dictionary of Latin American Racial and Ethnic Terminology (Silverman) 683-84

Alatorre, Antonio, Los 1,001 años de la lengua española (Geary) 691-92

Bauhr, Gerhard, El futuro en -ré e ir a + infinitivo en español peninsular moderno(Shreve) 694-95

Hesse, Everett W., and Catherine Larson, eds., Approaches to Teaching Spanish Golden Age Drama (Castañeda) 692-93

Lipski, John M., The Speech of the Negros Congos (Stephens) 695

Shimose, Pedro, Historia de la literatura hispanoamericana (Arrington, Jr.) 693-94

Torres, Arturo L., and Francisco Ávalos (compilers), Latin American Legal Abbreviations: A Comprehensive Spanish/Portuguese Dictionary with English Translations (Woods) 692

Wegmann, Brenda, Ocho mundos: Themes for Vocabulary Building and Cultural Awareness, 4th ed. (Berne) 690-91

Ellison, Fred P., and Naomi Lindstrom's trans. of Cunha's Woman Between Mirrors (Valente) 697-98

Fagundes, Francisco, A Poet's Way with Music (Lopes Junior) 698-99

Fagundes, Francisco and J. Houlihan, trans., Art of Music: Jorge de Sena (Lopes Junior) 698-99

González-Gerth, Miguel, trans. of Gómez de la Serna's Aphorisms (Richmond) 696-97

Patai, Daphne, ed., By the Rivers of Babylon and Other Stories (Lopes Junior) 698-99

Rabassa, Gregory, trans. of Lins's Avalovara (Larsen) 697

Rubin, Walter, trans. of Pérez Galdós's The Golden Fountain Cafe (Miller) 695-96

Watson, Ellen, trans. of Prados The Alphabet in the Park (Lindstrom) 699-700

Karl Vossler, Otis H. Green, Francisco Márquez Villanueva and Lewis Hutton, among others, have all addressed the Christian essence of Spanish literature, in general, and of the Golden Age in particular. One Renaissance author who has been widely studied from this perspective is Cervantes. Yet not until now has the reader been able to appreciate the extent of Cervantes's indebtedness to one specific spiritual current, the Augustinian religious tradition.

That theological tradition, «most extensive and all pervasive» in western European letters, as Angelo DiSalvo shows, is clearly evident in the entire corpus of Cervantes's literary productions. To understand the important role of the Augustinian tradition in Golden Age Spain and in Cervantes's writings, DiSalvo divides his study into eight chapters: 1) Augustine and Augustinianism: Christian Platonism; 2) the Augustinian-Franciscan Tradition in Sixteenth and Seventeenth Century Spain; 3) Cervantes's Christianity and the Concept of Christian Knighthood; 4) Faith over Reason: An Inner Spirituality and Christian Renewal in Cervantes; 5) Christian Dualism in Cervantes; 6) Original Sin, Grace, and Free Will: Fallen Humanity in Need of Redemption; 7) On Christian Doctrine: Christian Values and Deadly Sins; and 8) the Confessions, the City of God, and the Persiles.

The second chapter of DiSalvo's book provides the pivotal link between Cervantes and the principles of the Augustinian tradition through an examination of Golden Age translations of the major works of the Church Father as well as several ascetical-meditative devotional works known to Cervantes. Frequent references are made to these works by the novelist himself as well as by several of the characters in the Quijote. For example, references to ascetical-devotional literature occur in the Quijote at the protagonist's death and in the knight's dialogues with Diego de Miranda. Such references abound, as a close scrutiny of the text shows, with allusions to the Tratado del amor de Dios by the Augustinian Cristóbal de Fonseca and the Luz del alma by Pedro de Meneses, to mention only two.

The major part of DiSalvo's book (Chapters 3-8) is dedicated to showing how Cervantes assimilated the Augustinian religious tradition, evident in several episodes and sometimes, as DiSalvo indicates, in entire works, which illustrate the concern for faith over reason, the pilgrimage theme, Christian dualism, the heavenly vs. the earthly city, inner and affective Christianity, personal and social renewal, original sin, grace and free will. The result is a convincing effort to demonstrate that the Persiles, El rufián dichoso, and El curioso impertinente, as well as the captivity plays,

Los baños de Argel, and El trato de Argel, «are animated by religious principles that may be linked to the Augustinian tradition» (ix).

Indeed, it is interesting to note that Cervantes's relationship to Augustinian teachings should be so keenly marked both at the beginning and at the end of his literary career, in passages of La Galatea and the Persiles that clearly draw from the Confessions and the City of God. DiSalvo argues well the point that Cervantes's active spiritual life and his responsiveness to the idea of the religious, political, and moral reform of his society made him receptive to the principles espoused by the Augustinian tradition. DiSalvo's book is well written and competently researched and documented, an excellent addition to Cervantine scholarship.

Bruno M. Damiani

Catholic University of America

Its «masterworks» format notwithstanding, Carroll Johnson's Don Quixote: The Quest for Modern Fiction is a learned book, a synthesis not only of the novel but also of Johnson's critical trajectory. The study offers a general consideration of the text placed within the context(s) of history and reception. The topics that have informed Johnson's earlier work, including Madness and Lust: A Psychoanalytical Approach to Don Quixote (1983) and an impressive number of essays, frame the central chapters, which bear the title «What Happens in Don Quixote?» One could argue, perhaps, that the most difficult critical task is to «simplify» the complex structures of a text and the polemics it has inspired. Johnson emphasizes the importance of a comprehensive vision through readings which illustrate the interaction of text and context and, equally notably, through the background he provides for his own critical undertaking. Within a few pages of the introductory chapter, for example, he discusses the conflict of scholasticism and humanism, the converso and Old Christian society, and conformity and non-conformity in the Spain of 1600. He shows how a reading of Don Quixote's meeting with the Toledan traders of I: 4, to cite one case, is enhanced by a knowledge that the merchants surely would be New Christians. Analogously, the fact that Don Quixote's guide to the Cave of Montesinos is a professional humanist engaged in trivial pursuits (II: 22) may be a comment on an outdated humanism, on the absence of empirical science in Spain. Critical analysis, bound by time and individual talent, continues to define, or redefine, the novel. While Johnson applauds this openness, he warns against a value-neutral type of interpretation in which the markers of signification would tend to evaporate. Teaching the Quixote, he concludes, ultimately is teaching about being a reader.

In a single sentence, Johnson encapsulates the   —669→   intertextual paradox of the novel: «No book owes so much to preexisting literature, and no book is so different from that literature, as Don Quixote» (71). No one in the text is untouched by books, and no author is as conscious of literary tradition, and of the play and place of criticism, as Cervantes. Don Quixote enters into dialogue with the literature and the theory of his day and, precociously, with subsequent texts and theory. As the novel responds to the world, it responds, as well, to the word, to the dynamics of sign and meaning. The objects and situations which don Quixote encounters are subject to response based on the particular code to which he assigns them. The text thus juxtaposes the chivalric code with what may be termed the prosaic code of Sancho Panza. Cervantes unites matters of perception with semiotic issues, for objects are at the mercy of their beholders. It is not their essence, but their function in a semiotic field, which may change from moment to moment. For Johnson, communication brings people together, to the extent that the question of reading reality is linked inextricably to interpersonal relations, and therein lies the transition from semiotics to psychology.

Johnson has shown as brilliantly as any critic I have read the ways in which the historical record can enrich the critical act, and he is a superb close reader of fiction, but he has gained attention, and even a bit of notoriety, from the psychoanalytical «reading» of Don Quixote in Madness and Lust. He reiterates the thesis of that study in Chapter 8, entitled «People, Real and Fictional». Johnson argues that the manner in which one reads is a function of who he or she is, and Johnson's reading is unapologetically sexual in focus: «My Don Quixote is propelled backward into life by his flight from an unbearable environmental pressure personified in his niece and the threat of incest. It is because of this that he first throws himself into the reading of the romances of chivalry. When this first line of defence proves inadequate, the only mental space left to retreat into is madness. Similarly, the physical space of his house has become so erotically charged as to be uninhabitable. He absents himself mentally by losing touch with reality, and he has to get out physically as well» (118-19). There is a sense of poetic justice here. The novel which serves as a testament to reader response leads the critic to write a book certain to engage his readers and, I would suspect, to win their admiration. Despite the deceptive simplicity of the structure, and a generally light tone, this is a mature work by a major scholar.

Edward H. Friedman

Indiana University

The story of the Teruel lovers has inspired a rich literary tradition in Spain quite independent of its historical roots. The essential situation is the tragic love affair of Diego de Marcilla and Isabel de Segura. To obtain permission to marry Isabel, Diego must become wealthy within five years. He amasses sufficient riches but exceeds the time limit for doing so. Upon returning home, he finds that Isabel has married another man. The two lovers then die in quick succession from their extreme sorrow and loss, in the year 1217.

La verdad actual sobre los Amantes de Teruel is number eleven of the Cartillas Turolenses series, whose stated purpose is to publish scholarly studies regarding Teruel's history, culture and traditions for the general reader. Guardiola Alcover meets these requirements fully as he recounts the progress of scholarly opinion concerning the historicity of the Teruel lovers' tradition from the sixteenth century to the present, evaluates briefly various types of evidence extant today, and summarizes the current state of investigations.

Documentation for the tradition evolved in a reactionary way in response to moments of doubt regarding its veracity, and subjectivity at times influenced critical investigations. Certain documents were lost temporarily, others permanently. In succinct fashion, Guardiola Alcover clarifies and sets aside a great deal of critical misinterpretation. His discussion of twentieth century criticism focuses especially on the 1903 article by Galician scholar Emilio Cotarelo y Mori, which seriously challenged the historical bases of the tradition and influenced the majority of criticism until this day. Most of Cotarelo's points are successfully refuted. Of the various types of extant proof, the mainstay of support for historicity of the tradition continues to be a legal document, the protocolo. Composed in 1619, it was lost sometime between 1769 and 1806, and then rediscovered in 1958. It states that in 1619, motivated by a «certain paper», ecclesiastics excavated near the church and found petrified corpses of a man and a woman who, according to the «certain paper» were the two lovers. Subsumed in the protocolo are three other documents, namely: 1) the «certain paper», written five days earlier, which contains 2) a section written in medieval style script narrating the story of the Teruel lovers, and 3) a postscript to the story, dated 1555. Through use of a color-coded synoptic chart, Guardiola Alcover clarifies this confused embedding of multiple texts, and then reproduces the full text of the protocolo in an appendix. Also reproduced is the second oldest text supporting the tradition.

Despite its brevity, this study organizes and evaluates a great deal of material. Guardiola's discovery of a medieval reference to the Teruel lovers, in which they are listed with other historical figures of Catalan-Aragonese society, in the novel Triste deleytaçión, (written between 1548-1567) is valuable. Also persuasive is his brief comparison of the Teruel lovers' story with Boccaccio's story of Girolamo and Salvestra (written around 1350), which points to inconsistencies in Boccaccio's tale (not found in the Historia de   —670→   los Amantes de Teruel that might indicate Boccaccio's dependence on a prior text, thereby challenging the theory that the Teruel lovers' tradition was inspired by the Italian story.

Specialists might wish for more leisurely or sustained development of certain observations, particularly in the discussion of the most recent critical studies. At one point, reference is made to a comment of John G. Morton (p. 23), without supplying a source either in the text or in the bibliography. Nonetheless, one must appreciate the lucidity with which much material has been organized for the general reader.

The text is accompanied by a generous number of photographic reproductions of complementary material. Although intended for the general reader, those familiar with the literature which the tradition inspired will also find this organized overview and reconsideration of its historical bases informative.

Maureen Ihrie

Kansas State University

Pío Baroja es el novelista español más fecundo del siglo veinte, habiéndonos legado nada menos que sesenta y siete novelas escritas o, mejor dicho, publicadas entre 1900 y 1953. Medio siglo de novelar es mucho, mas también hemos de tener en cuenta que don Pío se atrevió igualmente con la poesía, todo lo urbana y prosaica que se quiera según comprobamos en sus Canciones de suburbio (1944), y con el ensayo -ora crítico ora biográfico- que culmina con sus picantes y maliciosas memorias Desde la última vuelta del camino (1944 y ss.). El total de su haber literario frisa, pues, en el centenar de tomos. Semejante prolijidad conlleva, como sería de esperar, cierta repetición de temas, situaciones y personajes cuando no ya de estructuras puesto que la inmensa mayoría de los textos barojianos son de línea abierta y de una asombrosa porosidad. No obstante esta larga y seria lista de pegas, la novelística barojiana es inesquivable y las razones son tantas como las susodichas objeciones. En primer lugar, acaso, se hallen las dotes heurísticas del autor, capaz de anécdotas y enredos que mantienen un interés primario en el discurso. En segundo lugar Baroja, que tenía verdadero horror a aburrir a sus lectores, utiliza normalmente un tempo narrativo acelerado y unos capítulos que tienden a lo breve, ganando con ambos artilugios la amenidad deseada. En tercer lugar Baroja se resistió casi siempre al vocabulario culto, declarando una y otra vez que él no usaba en sus libros palabras que no hubiese oído de niño en casa. Fuese o no verdad semejante aserto, el caso es que la ficción suya está al alcance de cualquier persona siquiera medianamente instruida. Muchas otras razones indudablemente válidas pudieran añadirse a las mías, sin embargo considero que a Baroja se le estudia hoy día mucho menos de lo que se le lee, como cuando vivía y al contrario de sus contemporáneos como Unamuno o Valle. Estos son autores de novelas-problema, o «nivolas», atentados contra el género, mientras que las de aquél son novelas puras que cuentan una(s) anécdota(s). Pío Baroja fue y sigue siendo un novelista de gran público cuyas obras mantienen en la actualidad un respetable índice de ventas, mientras que tanto las novelas de Unamuno como las de Valle (ambos de los cuales se vieron obligados a costearse por cuenta propia varias de sus obras) atraen, como antaño, a élites minoritarias.

Gonzalo Navajas, precisamente estudioso y no sólo lector de Baroja, atiende en esta coyuntura a aquellos valores que hermanan al novelista narratológicamente al resto de los noventayochistas. Dada la breve extensión de su monografía, sin embargo, el crítico se ve obligado a hacer un recorrido taxativo que apenas si tiene vagar para más de unos párrafos cuando lo que hubiera sido menester hubiese sido un capítulo o varios. Lo lamentable del caso es que sabemos que Gonzalo Navajas ha tenido que dejar mucho en el tintero por exigencias editoriales. No obstante, él ha sabido apuntar certera y perceptivamente aquellos aspectos de la narrativa de Baroja que la determinan y la caracterizan textualmente. Los capítulos «Conocimiento ético», «Protagonismo heroico» y un tercero que explora el antagonismo constante entre los antihéroes barojianos y un ideal patriótico al cual no responde España, claman al cielo por un desarrollo más completo, tantos son los aciertos apenas insinuados en ellos. En última instancia el Pío Baroja de Gonzalo Navajas es una monografía crítica sabiamente concebida pero inasequible por su virtuosismo teórico para un principiante universitario. Desafortunadamente al conocedor de la obra de Baroja le negará asimismo la satisfacción, una vez cerrado el libro, de haber terminado algo logrado y concluso. La pericia de este crítico, su dominio de la teoría literaria actual, su amor por la novela barojiana y su facilidad de expresión no bastan para que esta monografía supere su condición mutilada de mera guía de lectura cuando todo ello nos pudiera haber proveído de un tratado de envergadura de la producción novelística de Pío Baroja.

Ricardo Landeira

University of Colorado

La importancia indiscutible de la obra de García Lorca ha sido motivo de una tan creciente bibliografía que estaríamos prestos a afirmar que queda poco nuevo que decir sobre la misma. Sin embargo hay que superar la pereza mental que supone tal actitud para hallarle los recónditos significados de que está repleta la obra de tan insigne autor. Uno de los estudios que se propone aportar juicios nuevos sobre la poesía y teatro de Lorca es el reciente libro de José Ortega. Su autor propone analizar dicha obra desde una perspectiva histórico-social con el expreso propósito de mostrar que «el compromiso lorquiano... corresponde a un   —671→   deseo de superar la escisión del hombre con su entorno y consigo mismo» (9). Con dicho objetivo en mente Ortega divide la obra lorquiana en tres épocas. Los dos primeros capítulos analizan los tanteos literarios y la visión infantil del primer Lorca. Ortega ve el sentimiento popular y el primitivismo como condicionantes de su visión poética. Los seis siguientes capítulos, la parte central del libro, pretenden analizar mayormente el corpus dramático y poético del Lorca vanguardista. El objetivo principal de estos capítulos es mostrar el compromiso social que devino de «las distintas formas de alienación» (53) que Lorca presenció durante su estancia en Nueva York. Las últimas veinte páginas las dedica a comentar en términos bastante generales el teatro posterior a su viaje a América. La tesis de Ortega cara a este teatro es que el «advenimiento de la II República supone... un planteamiento social más directo de conflictos ya presentes en la obra inmediatamente anterior» (141).

El estudio es una valoración importante del contexto socio-cultural en que se encuadra la obra de Lorca. No obstante, el libro de Ortega es un libro polémico, y como pasa en toda controversia, hay motivos de discrepancia, ya que una de las cosas que se deben tener en cuenta en toda lectura socio-política o cultural de Lorca es que su obra debe su existencia a la inspiración homosexual del autor. Es una obra escrita en clave, y existe el peligro de no captar del todo su significado si no se toma en cuenta esta realidad, no porque Lorca esté describiendo experiencias homosexuales en términos heterosexuales, sino porque muchas de las preocupaciones dramatizadas por sus personajes o hablantes líricos son preocupaciones que se están refiriendo de manera codificada a su propia realidad reprimida. No tener esto en cuenta equivale a no captar del todo el significado de versos como los que Ortega cita de la «juvenilia»: «de niño yo canté con vosotros» mientras que de adulto cantaba «Yo solo con mi amor desconocido» (30); ni tampoco lo que significa esa «voz antigua/ignorante de los densos jugos amargos» que el hablante añora. Afirmar ante versos tan premonitorios de lo que ha de contener la obra más madura de Lorca que «meditar sobre la infancia es un acto que equivale a soñar, es decir, a un deseo de remontarse a los orígenes» (30) es dejar el texto a medio explicar. Ortega está bien consciente de esta dimensión de la personalidad de Lorca, pero no parece ir más allá de su pura mención, y cuando lo hace el resultado no es mucho más convincente por lo estereotipadas que son las ideas que trae a colegir. En la interpretación que hace de Así que pasen cinco años, el autor afirma que «la homosexualidad latente de El Joven y la fijación a la madre de éste es una fase según Freud, relacionada con la homosexualidad, período edípico de seducción de la madre y hostilidad al padre que ocurre entre los tres y seis años. La madre...» (85). Este tipo de análisis es difícil de aceptar hoy día, en parte porque el complejo de Edipo es una construcción teórica cuya existencia todavía no ha sido probada, y, sobre todo, porque las teorías freudianas sobre la homosexualidad revelan poco e ignoran mucho sobre el particular por estar a menudo basadas en la teoría antes que en la observación empírica. Aplicar Freud a la obra de Lorca es complicarla aún más. La necesidad imperante en la crítica lorquiana es abandonar modos de pensar estereotipados para abrir nuevos caminos de interpretación.

Carlos Jerez-Farrán

University of Notre Dame

In the «Razón de esta edición» the editor justifies the grouping of the above works in one volume by pointing out that all of them were written between 1931 and 1936. He has elected to exclude from consideration the later sonnets which will be treated in a future volume. This same exclusivity also applies to the bibliography (149-72), which has been compiled specifically for this critical edition of the works mentioned in the title.

Two substantial essays precede the presentation of the carefully edited works: «Introducción crítica» and «Estudio textual y bibliográfico». The former begins with an interesting discussion of Lorca in the thirties in which Anderson identifies five chronological phases of Lorca's literary production, the last being the period of the Second Republic, 1931-1936 -the one which concerns this tome. He chronicles the flurry of literary and cultural activities which characterizes this period in the author's life, and follows with a discussion of the individual works, their origins, and the external influences which moved the Andalusian poet/dramatist to write them. This is fascinating material, the result of Anderson's painstaking research coupled with the recollections of Lorca's peers and quotations from interviews with the author and from his letters. One point in the first essay proved a bit troublesome to this reviewer. In the first lines of the editor's discussion of the Diván he attributes the relatively scant attention this work has received from critics in part to the fact that it first appeared in the pages of an American academic journal. The editor fails to identify the journal here, or later in the essay, or in the bibliography. It is first identified in the chronology of the Diván on page 70 in the «Estudio textual y bibliográfico». This presents no difficulty to the Lorcan scholar who knows the journal as Revista Hispánica Moderna. For the interested nonspecialist, having to read the first seventy pages of the introductory material before finding the name of the review might prove disconcerting.

The second study, «Estudio textual y bibliográfico», offers an informative chronology for each of these works discussed with the exception of the   —672→   Poesías sueltas. The chronology intercalates events in Lorca's life with the writing, reading to friends, and revising of the works included here. A detailed description of the «original» manuscripts, comparisons of variant manuscripts of the same work, different titles as a specific work evolved to its final form, early publications, etc., form the body of this second essay.

The edition of the works themselves follows a format outlined in the «Plan del aparato crítico» (173-77). This begins with the «Parte histórica» which relates the steps in the evolution of a given work from the initial draft, if it exists, to the final form in which it appeared during the author's life. If, as in the case of the Diván, the work was published posthumously, then the editor traces the work to the first posthumous publication. Three more parts comprise the critical edition of each work: «Correcciones y variantes», «Puntuación», and «Clave de las siglas» which explains the symbols used.

Critical editions of literary works are invaluable to the intrinsic understanding and appreciation of a given work. Nowhere is this truer than with an author like Lorca who, unaware of his future place in world letters, failed to keep an orderly file of his manuscripts and often, without regard to their value, made a gift of them to sundry friends and acquaintances. Professor Anderson's meticulous research has resulted in a carefully crafted and welcome edition of some lesser known but nonetheless important Lorcan works.

In his companion volume, Lorca's Late Poetry, Anderson has given us the first book-length study of Lorca's poetic output between works published or revised and works written during these years. The latter concern him here. «Sonetos», including the «Sonetos del amor oscuro» replace the «Poesías sueltas» found in the earlier volume. A translation of the poems discussed here (417-45) and a bibliography (447-62) complete this study.

An introductory chapter briefly reviews existing critical studies of this aspect of Lorca's opus. The author discounts the critical methodologies currently in vogue to concentrate on «... the individual text considered as a substantially autonomous, meaningful unit» (3). In so doing, the author subscribes to the so-called «Practical» or «New Criticism» in which the critic focusses on enabling «... the reader to understand and enjoy, or understand and enjoy better than before» (4) the work studied.

Subsequent chapters deal with the Diván, the Llanto, Seis poemas galegos, the Sonetos, and finally, «Conclusions». In all but the last two chapters introductory material precedes the close reading of each poem which forms part of the larger work. Given the paucity of critical attention allotted to this poetry, Anderson has concentrated on a necessary elucidation of it. In the process he not only celebrates the achievements of Lorca's mature verse, but also takes note of its shortcomings.

This is a meticulously researched, carefully wrought assessment of Lorca's later poetry elaborated upon the background of the literary and cultural activities which concerned Lorca during these years. One may not necessarily agree with some of the author's conclusions. Nonetheless, one cannot deny that this volume, together with the preceding one, ably fills a gap in Lorcan scholarship.

Francesca Colecchia

Duquesne University

Originally published as Ernesto Giménez Caballero (o la revolución del poeta): Estudio sobre el nacionalismo cultural hispánico en el siglo XX (Madrid: Instituto de Estudios Políticos, 1975), this English-language version has been some what revised, primarily in an epilogue on Giménez Caballero's activities during the Franco regime. It is a valuable chronicle of the life and thought of a man who participated in and was a sometime leader of both the vanguardist and fascist movements in Spain. Although Giménez Caballero can hardly be considered a major Spanish writer (even by his own admission), this account of his life and works makes an important contribution to our understanding of the Spanish and European twenties and thirties, when in the wake of World War I, intellectuals and writers were motivated to find a radically new solution to the structure of society; the enemy for both the right and the left was bourgeois liberalism. While Spanish activists and writers on the left have received ample scholarly attention, very little has been paid to those on the right.

Foard divides his study into six chapters and the epilogue mentioned above. The first chapter on antecedents to Giménez Caballero's mature thought is the least likely to please most Hispanists as, in attempting to link Giménez Caballero to some of the ideas of the Generation of '98, Foard rather oversimplifies that group's very heterogeneous and evolving ideologies. He relies heavily on Laín Entralgo's account of the Generation which conveniently forwards his design of casting Giménez Caballero in the role of grandson to the '98. But, as we move into the actual intellectual biography in Chapters 2 through 6, the information has for the most part withstood the test of time. The one exception is Foard's comments on modernism, which he does not capitalize and thus must considered to be a direct translation of modernismo. Since Foard is a historian, not a literary scholar, it is perhaps unfair to ask him to be familiar with the recent debates in Hispanic circles about the meaning and relative merits of the terms modernismo and Modernism or to recognize that employing the term post-modernism to mean after modernismo sounds peculiar.

Chapter 2 takes up Giménez Caballero's university years (he studied with Ortega, Américo Castro and Manuel García Morente) and his term of military service in Morocco. The latter experience, about which he wrote Notas marruecas, set him   —673→   upon the course of political commentary which was at the center of his long career in Spanish letters. One of Foard's principal theses is that La Gaceta Literaria, which «El Gece» (as Giménez Caballero became known in Madrid) founded and edited, despite its many disclaimers, always reflected an active political posture. The first-hand view of the Moroccan debacle awakened Giménez Caballero's nationalist sentiments that were at the heart of his politics for the rest of his life. Chapter 3 chronicles «El Gece's» vanguardist period, especially the founding of La Gaceta Literaria and its early association with ultraísmo, futurism, surrealism and the hallowed members of the Generation of '27. Chapter 4 focuses on Giménez Caballero's conversion to fascism while on a trip to Italy in 1928, after which (Chapter 5) the fortunes of La Gaceta Literaria declined as it became increasingly associated with its editor's new political views. Expanding from notions of Iberian unity and then Latin unity (including Italy), in the early 1930s (Chapter 6), Giménez Caballero embraced the idea of a new Empire of Charles V that would include Germany (Hitler's successes removed his long-standing aversion to northern Europe, making way for a vision of a united fascist Europe). Chapter 6 also sketches Giménez Caballero's on-again, off-again relationship with Primo de Rivera's Falange. The Falangist emphasis on internal Spanish nationalism collided head-on with Giménez Caballero's imperialist dream.

Hispanists should overlook the outdated views of Spanish literary movements, the occasional awkward translation, the misspelling of greguería (66) and the renaming of C. B. Morns (74) and treat Foard's study as an invitation to further penetrate the origins of an ideology and movement that, however unpalatable, did dominate Spanish political and cultural history for an extended portion of the twentieth century.

Roberta Johnson

University of Kansas

José Enrique Martínez's classroom edition, designed primarily for Spanish high-school students, offers an excellent selection of poems as well as a sound appraisal of trends in Spanish poetry during the period 1939-1975.

The critical portion of the book begins with a chronological outline of major historical, cultural, and literary events. The historical section, which lists such relevant events as the Ley de Ordenación Universitaria of 1943, the strikes and student protests of 1961, the Plan de Desarrollo Económico of 1964, and the Ley Orgánica del Estado of 1966, provides a useful socio-political context for the literary trends discussed in this volume. The inclusion of many events of global import permits the accomplishments of Spanish postwar writers to be viewed within an international milieu. The cultural and literary events, on the other hand, are exclusively Spanish and highlight the lives and works of postwar poets (writers who published their most important works after the end of the Civil War). In this regard, readers who seek an understanding of Spanish trends within a broader, Western context, may wish for more balance. It would be helpful, for example, to see the names and works of Spanish poets placed side by side with those of their contemporaries in other European countries, Latin America, and the United States.

The nearly thirty-page introduction summarizes major currents (garcilasismo, poesía social, poesía existencial), minor currents (postismo, surrealismo, verse by the «Cántico» group), and poetry of the sixties and seventies. Though Martínez's materials are not new, his presentation is clear, accurate, and interesting. Also to his credit, his evaluations of the various trends are impartial. Some readers may take exception, however, to his description of the novísimos as «un grupo juvenil cuyos rasgos más relevantes -exhibicionismo cultural y esteticismo- resultaban, a pesar de todo, extremadamente novedosos» (40) or to his labeling of their first works -works that include Gimferrer's Arde el mar and Camero's Dibujo de la muerte- as «algarabía» (40). Such statements aside, the introductory essay is, in general, unbiased and insightful. Equally useful are the footnotes, bibliography, critical excerpts, and the author's suggestions for studying the poems.

The poems in Martinez's collection are aesthetically pleasing, and readers who approach this book with previously formed, negative views of poesía social may find these views seriously challenged. Perhaps for this and other reasons teachers of contemporary Spanish poetry may wish to examine this volume. The book's only significant short-coming is the absence of poetry by women. It is regrettable that an anthology containing poems by thirty-eight writers excludes the important women poets of the postwar era. Even better-known women poets, such as Gloria Fuertes, are missing from the table of contents and are never once mentioned in the introduction. Readers may wish that Gabriel Celaya's words -«Y un poeta es por de pronto un hombre» (287)- had not been taken so literally.

Kay Pritchett

University of Arkansas

The 1986 Premio de Literatura Miguel de Cervantes acknowledged the intellectual and literary achievements of critic, writer, and historian Gonzalo Torrente Ballester, but this deserved recognition came late in his career. Although he has produced a steady stream of books since 1938, his popular success dates from the 1973 publication of his novel Saga/fuga de J. B.; analytical studies of his work still lag behind those of   —674→   other comparable writers. Because of this, the commemorative volume of Critical Studies on Gonzalo Torrente Ballester is an important addition to the corpus of critical work. The studies cover both creative and critical writing and include articles on individual works, wider-ranging thematic and technical studies, analyses of the writer's literary theory, and a lengthy interview.

A few studies, such as Robert Nugent's analysis of El viaje del joven Tobías, deal with Torrente's pre-1973 literature, much of which appears to differ radically from his better-known novels. However, there are constants to be found throughout his literary production, as Margarita Benítez shows in her study of parody and subversion, or as presented in Stephen Miller's analysis of Torrente's 1986 Apuntes literarios as a point of departure for scrutinizing his evolving theory of literature.

The majority of articles, however, are devoted to Torrente's later writings -known for their lucid aspects, self-reflective and metafictional techniques, the use of demythification and parody- and very sophisticated concept of literature, which place him squarely within the contemporary intellectual scene. David Herzberger and Genaro Pérez study the metafictional aspect of Fragmentos de apocalipsis and Saga/fuga, respectively; Santiago López Torres and Jaime Carbajo Romero decode the poetry in Saga/fuga.

Several excellent articles dwell on the relationship of reality, history and creative text -Janet Pérez on La rosa de los vientos and Lynne Overesch-Maister on the trilogy (Saga/fuga, Fragmentos..., La isla...). Amparo Pérez Gutiérrez tackles apocalyptic literature and its connection with lineal history in La isla...; Kathleen Glenn studies myth and metaphor in Quizá nos lleve el viento.

Torrente's interest in the nature and function of the literary process is explored further in Frieda Blackwell's «Literature Within Literature...» and in Ángel Loureiro's «La realidad grotesca y la imaginación en libertad...» Carmen Becerra investigates the use of parody in Yo no soy yo...; Leo Hickey studies the relationship of narrator with reader or with text in La princesa durmiente...

A unique benefit of studying living authors is the opportunity for writers to comment on their own work. Several studies make use of interviews with Torrente (Blackwell, Overesch-Maister); his comments add an invaluable personal dimension to the facts. Francisca and Stephen Miller provide a lengthy interview which focuses on the writer's pre-1960 literary and political interests.

A valuable introduction and a chronological bibliography of Torrente's critical and creative works through 1987 round out the collection. The informative contents of this volume offer excellent reading for specialists and for those interested in the contemporary Spanish literary scene.

Margaret E. W. Jones

University of Kentucky

Tipología de la narración: A propósito de Torrente Ballester constituye un ensayo profundo, riguroso y claro sobre una de las novelas más complejas en el actual panorama de la narrativa española. Basándose en los teóricos Martínez Bonati, Genette, Roland Barthes, Benveniste y los formalistas rusos, Lértora examina Fragmentos de Apocalipsis como una estructura lingüística «cuyo análisis objetivo no precisa del recurso a referencias extratextuales para comprender el funcionamiento del mundo desplegado por el lenguaje que la constituye» (184).

En el capítulo 1 se estudian «Las estructuras de la narración» distinguiendo la fuente desde la que se genera el discurso que funda el mundo representado y los distintos niveles desde los cuales se despliegan las distintas voces. A partir de la diégesis (primer relato) y la metadiégesis (relato segundo integrado en el primero) se analiza el nivel narrativo conocido como mise en abyme, o existencia de un relato en el interior de otro. En los planos del relato se considera el estatuto de la entidad imaginaria del narrador que funda el mundo narrado mediante un discurso «cuya facultad esencial es la de ser capaz de crear un mundo desplegado ante nuestros ojos, diferente por lo tanto del hablar del personaje que no lo vemos como mundo» (37). Respecto a la tipología de la narración se discuten los distintos niveles que con relación a la historia presenta el narrador según sea homodiegético, en cuanto participa como personaje del mundo ficticio, y heterodiegético cuando narra acontecimientos en los que figura como personaje. La multiplicidad de voces narrativas que asumen la condición de discurso de un lenguaje imaginario no extratextual confiere a Fragmentos de Apocalipsis, según Lértora, una estructuración de mise en abyme, así como una organización segunda o estructura polifónica.

El capítulo 2, («Modos de presentación del mundo ficticio»), trata de la manera en que se presenta el cosmos ficticio, o relación del narrador con lo narrado, de acuerdo con la distancia y perspectiva desde las que se sitúa el narrador con el mundo representado. En Fragmentos, el narrador pone el acento en la construcción lingüística de un discurso narrativo. Por esto, la novela se plantea como un hacerse a medida que se proyecta el discurso del narrador y el presunto autor ficticio. Importa la enunciación narrativa, es decir, el discurso del narrador homodiegético y la instancia receptora. En el discurso del narrador heterodiegético, la distancia entre el narrador y el mundo narrado alcanza su punto máximo, y el sujeto de la enunciación está claramente diferenciado del enunciado. También se analizan otras modalidades que presentan el procedimiento discursivo tales como los modos citacional, autotextual e intertextual. La perspectiva -modo de presentación de la ficción que concierne cómo el mundo narrado es percibido por el narrador y el lector- proviene de diversas fuentes sin que exista, como lo prueba Juan Carlos Lértora en   —675→   cuanto Fragmentos, por parte del narrador y/o lector una visión uniforme que abarque todos los aspectos del mundo narrado.

La temporalidad del relato (capítulo 3) es un aspecto esencial que se relaciona con los planos de la enunciación (discurso) y el enunciado (historia narrada) y ambos planos manifiestan preferencia por el uso de determinados tiempos verbales. Lértora discute cómo se organiza la temporalidad en la ficción dentro de unas categorías temporales que pertenecen sólo al plano imaginario de Fragmentos. También se analizan la variedad de relaciones temporales teniendo en cuenta los cuatro tipos fundamentales propuestos por Genette: ulterior, anticipado, simultáneo e intercalado (146). Además se precisan el orden y la relación que mantienen las perspectivas temporales del discurso y la historia narrada, la disposición temporal en que se localizan los acontecimientos narrados y los procedimientos que alteran la linealidad del plano del acontecer. La complejidad y la disposición proteica que en el plano temporal presenta Fragmentos obliga al crítico a considerar igualmente otros aspectos y relaciones temporales que afectan al tiempo del discurso, tiempo de la historia, planos temporales del discurso narrativo, etc.

Con gran rigor, claridad expositiva y un valioso aparato crítico, Lértora fundamenta los principios teóricos analizados en Tipología de la narración: A propósito de Torrente Ballester para demostrar la forma en que los recursos de Fragmentos de Apocalipsis hacen posible la narración de una historia de índole imaginaria y autónoma sin correspondencia con la realidad concreta.

José Ortega

Universidad de Granada

This monograph discusses aspects of the theme of fear in five of the novels of Miguel Delibes: a chapter each is devoted to La sombra del ciprés es alargada, La hoja roja, Cinco horas con Mario, Parábola del náufrago, and El príncipe destronado. Interspersing brief allusions to other novels by Delibes published before 1975, the study provides an examination of fear that Rodríguez subdivides by its objects: fear of death, fear of desamor or lack of human solidarity, and fear of modern progress. The goal is to point out everything that inspires fear in these novels and how such fear functions thematically. The book begins with the statement that because feelings of fear characterize the man Delibes, fear is an essential underpinning of his fiction. However, what fascinates in this analysis is how el miedo takes so many forms, and how much weight would seem to lie on this single emotion.

This line of argument structures the book: Delibes «es un individuo hipersensible que ya en su niñez se muestra fascinado y obsesionado con el fenómeno de la muerte», whose first novel was «su primer intento de combatir su obsesión con la muerte, la cual es en realidad miedo al dolor, la arbitrariedad, la violencia, la injusticia, y el desamor inherentes a la vida humana» (133; emphasis added). Just as it is submerged in the works between La sombra del ciprés es alargada and La hoja roja, Delibes's obsession with death never again is dominant thematically in his novels, according to Rodríguez, and operates only as a secondary or even minor theme in the three other novels analyzed in this short volume. After La hoja roja fear of death disappears as a preoccupation to give way to el desamor, and this lack of human solidarity also takes many forms in the author's novels: a preoccupation with violence, cruelty, indifference, loneliness, selfishness, and competition. Delibes's view of life as a dog-eat-dog struggle for survival makes him fear for the weak and marginal in society, and this fear led Delibes to search for the origins of a social system where the strong exploit the weak. Rodríguez concludes that the novelist found the source of human insolidarity in the march of human progress, which is characterized by competition, consumerism, homogenization of tastes and customs, lack of communication, specialization, and the growing power of the State and large corporations.

Such a delineation of the development of a thematic complex includes many if not all of the basic elements of Delibes's primary fictional concerns, but some readers may take issue with the use of the word fear to describe it all. A clear and stable definition of terms or a grounding in some philosophical or psychological theory, rather than the easy assumption that everyone knows what fear is, would help this analysis to persuade that Delibes's attitude toward death, human cruelty, and the destructiveness of modern progress is indeed fear, and not anger, despair, fascination, nostalgia, frustration, or something else.

The most serious question to be raised about this study is its incompleteness. Too many novels, both pre-1975 and post-1975, are not discussed even though a case can be made that fear, as loosely defined here, has a significant thematic role in them. The bibliographical material consulted stops effectively at 1980 with the exception of Gonzalo Sobejano's introduction to the 1983 reedition of La mortaja, and Rodriguez's own unpublished interviews with Delibes in 1983 and 1985. Had this 1986 dissertation been even slightly reworked before publication it might logically have incorporated insights from Javier Sánchez Pérez's 1985 study of El hombre amenazado in Delibes's fiction, or Pilar de la Puente's 1986 section on the effects of Delibes's humor, in Castilla en Miguel Delibes, not to mention other critical works of the past ten years that pertain to this book's focus. As it is, this gracefully-phrased book misses making a significant new contribution to the scholarship on Miguel Delibes.

Constance A. Sullivan

University of Minnesota

Es un hecho indudable que el nombre de Ángel González se sitúa entre los más importantes e indispensables en la nómina de los llamados poetas del 50 dentro de la lírica española contemporánea. Debido a ello su bibliografía ha aumentado considerablemente en estos últimos años: volúmenes colectivos (resultados de homenajes y coloquios) y numerosísimos artículos centrados en aspectos o parcelas de su obra. Faltaba, sin embargo, un estudio de conjunto -exegético y valorativo- de la misma: algo así como un companion book o prontuario que nos sirviera de acceso a ella de un modo inteligente y ceñido a la vez. Y Andrew P. Debicki ha venido, con este libro, a llenar cumplidamente tal ausencia.

En su «Introducción», el crítico nos enfrenta ya a las actitudes y claves temáticas de González (social o crítica, irónica y satírica, temporalista y elegíaca, amorosa y erótica, y últimamente metapoética) así como a lo más distintivo de su expresividad: la reelaboración enriquecedora del lenguaje cotidiano y la multiplicidad creciente de enfoques, perspectivas de elocución y niveles significativos de que ha sabido dotar a su personalísimo estilo. A partir de esta síntesis, Debicki examina la poesía de Ángel González con mayor cercanía a lo largo de tres amplios capítulos, los cuales siguen el devenir cronológico -etapas, libros, recopilaciones- del autor de Palabra sobre palabra.

En todos esos capítulos el método expositivo ha sido el de ofrecer, primero, una exposición resumida de los aspectos innovadores de cada entrega considerada (a más de un mínimo de datos biográficos y circunstanciales pertinentes); y proceder después a un análisis individualizado de las piezas sobresalientes en dicha entrega. Aquí, en estos análisis o comentarios, Debicki alcanza sus más provechosos momentos críticos. Sostenidos sobre una mesurada fundamentación teórica, nunca farragosa, esas radiografías interiores de los poemas nos hacen ver, desde dentro, los variadísimos mecanismos de creación del poeta. Y son esos mecanismos quienes, bajo la máscara engañosa de una cotidianidad léxica, y por los caminos de una afilada ironía y la más alta conciencia del lenguaje, alzan a la de Ángel González al nivel de una poesía de gran riqueza y complejidad. Así vamos descubriendo -y la descripción siguiente es sólo parcial- las sorprendentes voces que González concede a sus muy diversos (siempre concretos, no siempre «fiables») hablantes poéticos, esto especialmente en la primera gran zona de su obra (Capítulo 1: «El poetizar de una realidad tensiva»); y el énfasis puesto después -segunda etapa- en los recursos y procedimientos técnicos de construcción y lenguaje; aunque siempre llenando los esquemas, resultantes de tal actitud, con sus experiencias propias (Capítulo 2: «Desconfianza y predominio de la palabra»). Y por fin, en el Capítulo 3 («Un éxito de la postmodernidad: colaboración de poema y lector») asistimos al desarrollo y confirmación de algo que, en verdad, había guiado a Debicki desde los comienzos de su exploración crítica por esta poesía: su propósito de demostrarnos cómo, y sobre todo en su tramo último, Ángel González acierta en asumir y cumplir, de modo eficaz y pleno, varias de las premisas fundamentales de la estética posmoderna en poesía. En su libro más reciente -Prosemas o menos (1983)- pareciera que el autor quiere dejar a los lectores la tarea de continuar y completar las tensiones que el texto ha dejado sólo sutilmente planteadas, y de llenar los sugerentes «vacíos» que de modo deliberado han quedado inscritos en el poema. Estaríamos así ante una escritura «posmoderna», en espera de lectores igualmente «posmodernos».

Siguiendo normas editoriales de esta colección, el volumen incluye además una «Antología» suficiente del poeta y una «bibliografía» (con la relación de sus títulos originales y de los estudios críticos más importantes aparecidos hasta la fecha). A esa bibliografía debe añadirse desde hoy, y también como indispensable, la original y novedosa lectura que de la poesía de Ángel González realiza Andrew P. Debicki en este libro.

José Olivio Jiménez

CUNY Hunter College & Graduate Center

In the Feminine Mode is a Festschrift in honor of Marina Romero, a superlative teacher and poet, who inspired Professors Valis and Maier when they were undergraduates at Douglas College. Consonant with the conventions of this scholarly genre, the book begins with a personal reminiscence about Romero, written primarily by Carol Maier; it concludes with an analysis of Romero's poetry by Noël Valis. Thirteen essays by other contributors comprise the remainder of the book. The essays, which are loosely related, are organized into three titled sections. The editors conceive of «the feminine mode» as «an inclusive term of plurality, difference, and even contradiction». The essays in this collection demonstrate that the same assertion applies to feminist criticism.

The first segment is called «Writing the Self». These essays address obscure texts or extract new meaning from those that are well-known, with varying degrees of success. Amy Katz Kaminsky analyzes a little-known romance by Sor Juana Inés de la Cruz, Marci Sternheim discusses Sara de Ibáñez's «battle to create», Teresa Vilarós-Soler writes about Clementina Arderiu, and Janet Pérez elucidates imagery used by Josefina Aldecoa, Carmen Martín Gaite, and Maria Antonia Oliver. In the final chapter in this section, Debra A. Castillo discusses the problem of women's relation to history in a novel by Carmen Gómez Ojea.

Part Two, entitled «The Text of Subversion», is the   —677→   most uniformly excellent. In it, Susan Kirkpatrick demonstrates how Gertrudis Gómez de Avellaneda gives new Romantic spiritual attributes to female characters in Sab. Maryellen Bieder discusses the techniques through which Emilia Pardo Bazán subverts gender conventions in Los Pazos de Ulloa, and Elizabeth J. Ordóñez illuminates two sources of the «double-voiced discourse» evident in Pardo Bazán's Memorias. Lastly, Linda Gould Levine examines androgyny in Isabel Allende's La casa de los espíritus.

In the book's final section, entitled «The Critical Space», contributors deal in some way with the subject of literary criticism. These essays are most enlightening when they adopt a scholarly stance, and less so when they impose protracted descriptions of personal reactions. Elsa Krieger Gambarini reviews male critics' evolving responses to the work of Teresa de la Parra, Janet Gold describes poems by Yolanda Oreamuno, Elena Poniatowska and Luisa Valenzuela; and Bernice L. Hausman documents the relationship between Victoria Ocampo and Virginia Woolf. Harriet S. Turner compares poems by Gabriela Mistral, Gloria Riestra, Rosario Castellanos, and Gloria Fuertes with a nineteenth-century American girl's sampler. In the closing chapter, Noël Valis focuses on the sense of self described and enacted by Carolina Coronado, Casta Esteban, and Marina Romero.

The great range of these essays -spanning continents, genres, levels of artistic merit, and also levels of scholarly attainment- makes it difficult to generalize about the book as a whole. Unlike anthologies such as Janet Pérez's Novelistas femeninas de la postguerra española or Roberto Manteiga, Carolyn Galerstein and Kathleen McNerney's Feminine Concerns in Contemporary Spanish Fiction by Women, there is no circumscribed focus of inquiry. Some of the writers analyzed here are securely ensconced in the canon, while others are scarcely known even to specialists. Yet because of this diversity, a sequential reading of these chapters sheds great light on the complex issue of gender for Hispanic women writers. Without exception, these writers must come to terms with their gender on every front: in their own minds, in their art, and in their responses to societal expectations in various parts of the Hispanic world. These findings will interest a broad audience, and among the book's readers will be scholars who do not know Spanish. The volume is thoroughly accessible to English speakers, although some may be confused by certain omissions, such as the failure to specify published English translations or to mention that several authors write in Catalan. Translations into English range from workmanlike to superb.

In the Feminine Mode is a pioneering contribution to the genre of the Festschrift in Hispanic letters. This public tribute has traditionally been offered to male mentors by their successful scholarly progeny, who also usually are male. Here, scholars who are women pay homage to female professors who inspired them not only to study Hispanic literature, but to pursue a new field of inquiry. At the same time, they offer important insights into women writers of Spain and Latin America, whose previous characterizations as «feminine» have not been associated with such deep respect.

Joan Lipman Brown

University of Delaware

Afirma Claudio Rodríguez Fer que este trabajo obedece a un doble propósito social y personal. Al referirse al primero dice: «O propósito social ten carácter didáctico na medida en que se pretende sentar algunhas bases analíticas para o mellor estudio da poesía galega, e cultural no sentido de que se trata de incorporar aportacións das máis diversas correntes e tendencias universais á nosa cultura, coa fin de contribuír a actualizala neste terreo e, mesmo, a poñela en situación de clarificar ou de innovar algunha cuestión de tipo xeral...» (9).

Sobre el segundo aspecto, el personal, afirma: «O propósito persoal ten a súa exclusiva motivación no amor á poesía galega» (9). Este libro es el producto de diez años de estudio, evidente a lo largo de la lectura por la diversidad y modernidad de los métodos de crítica literaria expuestos, así como por su aplicación a la obra de determinados escritores gallegos. Rodríguez Fer reconoce la necesidad de una «metodología diversa» que permita distintos acercamientos críticos a cada obra. Dentro de esta visión amplia, Rodríguez Fer especifica la conveniencia de utilizar ediciones revisadas o ediciones críticas, con el fin de trabajar con un texto confiable.

Poesía Galega se divide en dos partes: «Análise Intratextual» y «Análise Extratextual». La primera parte comprende los siguientes capítulos: Análise de fondo ou contido. A temática cultural na poesía de Carballo Calero; Anális e da forma ou da expresión. O nivel gráfico. Elementos de grafoestilística galega; O nivel fónico. Fonoestilística da poesía de Novoneyra; O nivel gramatical. A recorrencia na poesía de López-Casanova; O nivel léxico-semántico. Da metáfora múltiple a Manuel Antonio; O nivel pragmático. Himnos de loita patriótica e revolucionaria de Cabanillas; Análise da estructura. O poema «Penélope» de Díaz Castro. La segunda parte, dedicada al análisis extratextual, comprende: Análise histórico-literaria. A historia da literatura no texto. Cunqueiro y Ferrín na tradición europea; O texto na historia da literatura. Ferrín e Arcadio no cambio de rumbo de 1976; Análise histórico-social. A historia social no texto. O poema «Cunetas» de Luis Pimentel; O texto na historia social. Celso Emilio Ferreiro e a plusvalía; Análise ideolóxico-filosófica. A concepción da lírica na obra de Ramón Piñeiro; Análise biográfico-psicolóxica. Otero Pedrayo á luz de «O quinqué de petrólio»; A interpretación personal. A literatura como coñecemento; O comentario de textos. Comentario   —678→   dun poema de Rosalía de Castro.

Como se desprende de esta ennumeración temática, se estudian y se aplican aquí acercamientos críticos de plena actualidad. Se hace evidente que el autor profundizó en ellos, sopesó su aplicación y seleccionó la obra adecuada para ejemplificar mejor la eficacia del método. Esta perspicacia selectiva quizá sea lo más importante del libro, sobre todo si se piensa en su aportación al desarrollo de la crítica gallega y, su difusión en otros ámbitos nacionales e internacionales. La labor de Claudio Rodríguez Fer hubiera sido muy aceptable en su aspecto de divulgación, si se hubiera quedado en la dimensión puramente teórica de los nuevos acercamientos críticos. No obstante, las referencias y su aplicación a textos gallegos constituye su mejor aportación.

Estamos ante un excelente libro de crítica literaria, especializado en un área que requería ya un estudio de esta naturaleza; un trabajo abarcador que incluye las muestras más representativas de la poesía gallega contemporánea. La sólida formación académica del autor se pone de manifiesto en las inteligentes síntesis que realiza de orientaciones críticas diversas y hasta opuestas en algunos casos, incluyendo ideas tan distantes como las enunciadas por los formalistas rusos, Roman Jakobson, Umberto Eco y las formuladas por Georg Lukács, Lucien Goldmann, Mikhail Bakhtin, etc.

Los juicios expuestos por Claudio Rodríguez Fer en Poesía Galega están avalados por el notable dominio que posee de las actuales orientaciones de la crítica literaria. La erudición y la estima por lo propio han hecho posible un texto de obligada lectura para el especialista, y de particular interés para el lector que sigue de cerca la evolución de las letras gallegas.

Matilde Albert Robatto

Universidad de Puerto Rico

Hace algunos años, en A Reader's Guide to Contemporary Theory, Raman Selden se quejaba de cierto «chauvinismo cultural» de los británicos que los hacía resistentes a las nuevas teorías procedentes del continente. Ahora Barry Jordan ofrece una crítica, por momentos conciliatoria, casi siempre acerba, del hispanismo británico, el cual considera sumido en inveterados principios y prácticas (como las del «close reading»), difíciles de sostenerse ante el desafío de las recientes teorías literarias que han conmovido los cimientos de la crítica ortodoxa. Una preocupación, pues, literaria, cultural y académica, da unidad al presente volumen, compuesto de cinco ensayos -tres en inglés, dos en español- que ya habían sido publicados en diferentes revistas.

En el primero de estos ensayos, Jordan comenta el notorio caso de Colin MacCabe, el joven lector de inglés que fue negado «tenure» y despedido de Cambridge por su enfoque heterodoxo de la crítica.

Seguidamente, lleva a cabo una esquemática pero precisa descripción del estructuralismo y la semiótica, de la teoría de la recepción y del desconstruccionismo, para señalar sus efectos sobre los conceptos tradicionales de autor, texto y lector. Además, desde una perspectiva marxista, la práctica de la interpretación se halla limitada, para Jordan, por las «realidades políticas» de la institución académica, convirtiéndose en una lucha de poder entre profesores y estudiantes: «the power relation between those given the right to speak and thus to teach, and those taught» (29).

Los dos siguientes ensayos están relacionados por su problemática, y sus argumentos se encaminan a la crítica del texto como entidad autónoma. El primero trata sobre las teorías de dos críticos marxistas británicos, Terry Eagleton y Tony Bennett; el segundo toca de manera más directa el debate sobre el valor y la utilidad de los estudios literarios en nuestro mundo pluralista y cambiante. La respuesta a la actual crisis parece ser, para Jordan, los programas de Cultural Studies como el actualmente implantado en la Universidad de Birmingham, donde él enseña. Jordan propugna la «apertura del canon literario hacia un surtido más amplio de objetos culturales» (55), la orientación hacia los estudios interdisciplinarios y la consideración de las obras dentro de sus contextos históricos y socio-culturales. Sólo desde un enfoque excesivamente conservador o extremadamente formalista se podría objetar a estas prácticas renovadas de los Cultural Studies. Pero hallamos preocupante cierta tendencia a ignorar distinciones de valor, a confundir y mezclar lo literario con lo no-literario, las obras maestras (este concepto mismo queda entre dicho) con los productos de la «mass media» y del arte «pop». Es así que la «falacia formalista» pudiera convertirse en una falacia consumista, el aspecto estético de las obras quedaría subordinado a una especie de sociología de la literatura.

En sus dos últimos ensayos, Jordan realiza un análisis más específicamente pedagógico de los procedimientos del hispanismo británico. Muchas de sus críticas son atinadas y serían incluso aplicables a algunos departamentos de lenguas en los E. U. A.; el dar privilegio a los estudios medievales y renacentistas a expensas de los intereses más modernos de los estudiantes de hoy; la desatención al estudio de la lengua en sus formas contemporáneas; la posición marginal de los cursos de «civilización»; la concentración insuficiente concedida a la teoría literaria. Aparte del reto que presentan las nuevas teorías, Jordan está consciente de presiones políticas (el «Thatcherismo») que afectan a la educación en Gran Bretaña, entre otras cosas por un «continuing shift in subject balance from Humanities to Sciences» (96). Su perspectiva es, pues, hasta cierto punto, defensiva: la urgencia de cambiar o sucumbir. Inquieta, no obstante, su insistencia en conceptos como «marketable», «practical», «valor de uso» y «utilidad» aplicados a estudios literarios, y sobre todo lo que parece una negación implícita de la literatura por sí misma, como una expresión de la condición humana paradójicamente   —679→   eterna y liberadora en su misma historicidad.

No hay duda que estamos ante un libro polémico, del cual disentimos en muchos aspectos. Su lectura, sin embargo, resultará de interés para todos los que se preocupen por el futuro de los estudios literarios y las humanidades.

Gemma Roberts

University of Miami

Onésimo Almeida continues, with this collection of essays, in his effort to establish what is different, unique, and in some cases, debatable (in the scholarly sense of the word) about Azorian literature. Indeed, the very denotation of the subject presents challenges and opportunities. As Almeida himself indicates in the introductory note, almost all of the essays collected in this volume have appeared somewhere before (15). However, this fact does not take away from the masterful argument that the author makes for a definition of Azorian-people, places, literature, culture.

Well versed in current literary theory, but also well aware of its absence from much of the literary dialogue of his culture, Almeida presents his readers with a McLuhanesque collage -one that informs as well as challenges the readers. Almeida begins by defining his audience- «Continentais, Madeirenses e Macaenses» (17-20). The definition and a warning to the reader to finish the book before venturing an opinion of it (20), lead, to four essays specifically about «O Caso Singular Açoriano», although only the first of the four essays has this specific title.

The next two essays (some thirty pages) provide a panoramic view of «Azorian Literature» through an analysis of its writers, movements, and socio-political reactions. Readers -as did this one- will find themselves as spectators in a point-counter-point match. The tone of the narrative is at times angry. At other times it is apologetic. In one of the essays, a heretofore unpublished interview conducted in 1987, Almeida concludes -in response to a question about the possible political implications of the definition of an Azorian literature- with the following words: «Contentar-me-ei com insistir no facto de a existência da literatura açoriana ser talvez, uma questão de semântica dependente, portanto, do sentido dos termos; mas as coisas existem ou não, independentemente dos usos que de las fazemos e dos nomes que lhes decidimos chamar» (135).

The last five essays, perhaps the most provocative of the collection, attempt to define a «cultural space» for this body of literature. It is here that Almeida presents the strongest arguments for his definition of «Açorianidade». A cultural space is only such if one sees it as different from something else. It is in the «something else» that one defines one's culture and its manifestations. Almeida establishes for Azorians a cultural space in terms of what it is not. For readers who are currently involved in a redefinition of culture through literary theory, Almeida's collection of essays is an example as well as a product of the contemporary dialogue. In the appendix, Almeida collects five pieces (letters, short notes, and a critical review of one of his own books written under a pseudonym).

To understand some of the value of this collection, one must remember its intended audience -«Continentais, Madeirenses, and Macaenses». In so doing, one realizes that it is a response in a never ending dialogue. Yet, scholars of all literatures expressed in the Portuguese language will find this volume stimulating.

The supplement by Viera et al., to Leo Pap's The Portuguese in the United States: A Bibliography (Staten Island, New York: Center for Migration Studies, 1976), compiles entries 801 to 2071 of materials on Portuguese-American studies published from 1973 to 1988. In addition, several addenda appear at the end of each section of the bibliography. The supplement not only fills in the gaps encountered by reviewers of Pap's original contribution of the first 800 entries, but also adds new information that concerns the topic, such as «return migration especially from European countries to Portugal [that] has become widespread since Pap published his bibliography» (3).

The editors are to be commended for the care with which they have researched the topic and presented the information in a usable fashion. Although not completely annotated, the bibliography has explanations of ambiguous titles, for example, entry number 1018, «Fishman, Joshua A. The Rise and Fall of the Ethnic Revival: Perspectives on Language and Ethnicity. Berlin: Mouton, 1985. [Contains references and statistical data on Portuguese in America] (23).

In addition to bibliographical information on the published sources, the editors of this volume have been careful to indicate the location of unpublished materials, for example, Emmanuel M. Vasconcellos's Brief Narrative of the Original Portuguese Church, is a manuscript found in the Illinois State Historical Library (34). Pages 99 to 126 provide an alphabetical index that includes authors, titles of newspapers and other periodicals, as well as state agencies that may provide additional information.

This bibliography is an indispensable tool for scholars who are interested in the Portuguese presence in the United States and Canada. Along with Leo Pap's original bibliography, it will save hours of preliminary bibliographical work on the part of researchers. This reviewer agrees fully with Eduardo Mayone Dias who concludes his preface with the following words: «Esperamos pois que tanto a bibliografia   —680→   original como o suplemento que agora se publica possam servir de trampolim para a expansão da pesquisa. As bases aí estão» (2).

Carmen Chaves Tesser

University of Georgia

This text fulfills several needs that long have existed for Hispanic American colonial literature scholars. In the first instance it presents a modern edition of a work that, although standard fare for instructional purposes, has often been difficult to obtain. In the second, the text presents an interesting, if not impressive, study of the often proposed dual authorship of Infortunios de Alonso Ramírez, along with statistical data to suggest the extent to which each author (Sigüenza and/or Ramírez) intervened in the work as first pub